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Giacchino’s Magic: The Power of Music in “The Batman”

Reboots among superhero franchises always come thick and fast among an equally blustering industry hungry for the next exciting moment for the fans to gawk at. But Reeves’ dreary portrayal of the world of Batman is its most chilling to date.

Wishing for darker and darker still, droll, bleary Gotham is the setting. A dilapidated, worse-off New York is imposed in a city shrouded in crime, hatred and disparity.

Two years of nights have turned me into a nocturnal animal,” Robert Pattison growls to no one in particular as the haunched look of a fictionalised Kurt Cobain-turned-recluse is portrayed through the desperation of Pattinson’s Bruce Wayne, those Cobain-like locks of long black hair festering on the head of once ill-mannered billionaire playboy.

With that, the gloomy neo-noir thriller has an arching theme of Nirvana‘s Something in the Way, a slice of dark 90s’ grunge that has never worked so well in a superhero film.

Delivering on a belief that isn’t quite there among a city rife with colourful crime-lord characters, Nirvana’s Something in the Way is a perfect lead music element that brings the whole dishevelled Gotham enterprise a flavourful look that is just so so good …

… and with every scene portraying no brighter colour than that of burnt orange with its incessant downpour to drive the point home, Michael Giacchino‘s motion soundtrack tops the bill of perfection.

Pensive upon reflection, tense in the moment – the music in The Batman encapsulates such a fantastically dark figure in the shadows driven by both fear for those wishing for anything but and hope for those simply wishing.

The main theme The Batman and opening sequence Can’t Fight City Halloween steal the show at once, giving nods to previous composers of both Hans Zimmer’s The Dark Knight and Danny Elfman’s Batman, but really honing in on an original style, craft and tact that this film feeds you on.

The caped crusader has had many fair shares of fantastical story quips, amazing villians and plot lines, but the music has always stayed on par every step of the way – and this depraved retelling of the cowl-dweller has hit the nail on the head.

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